Portraits of Paula Pohl Rieser nee Wagner Portraits Women

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Charlotte (Lotte) Engel Portraits Women

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Portrait of Rosalie Rothschild nee Stern; Cologne Portraits Women

Handwritten on verso: Rosalie Rothschild

Helene Bejach portraits women

Wife of Dr. Max Bejach (12/29/1853 - 6/6/1932)

Hedwig 0ttow, Festungslazarett Koenigsberg military portraits women

Hedwig Ottow later married Dr. Max Bejach

Paula Beer-Hofmann with her cat Portraits Women

Handwritten caption: Frau Paula Beer-Hofmann in herzlicher Verbundenheit, Liebe und Verehrung. Signed Helene Thinnig

Studio portrait of Anna Hoch Hauser seated and holding a copy of the book "Geschichten Aus Tirol" by Carl Wolf; Vienna Portraits Women

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Studio portrait of Emilie?; Görlitz, Germany Portraits Women

Verso: handwritten dedication signed Emilie

Studio portrait of the sister of Max Rieser; Krakow Portraits Women

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Studio portrait of the sister of Max Rieser; Krakow Portraits Women

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Emilie Mosse and Anna Ginsberg walking in a park; Cape Martin Portraits; Groups; Women

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Birgit Simonis; Apartment in Farsta Portraits Women

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Birgit Simonis with portrait of her husband Rudolf Simonis; Farsta Portraits Women

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Birgit Simonis; Apartment in Farsta Portraits Women

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Threats and Promises: The Promotion of Artificial Lighting to Women Consumers in the United States, 1880s – 1960s

This article examines the development of a specific gendered discourse in the United States in the first half of the twentieth century that united key beliefs about feminine beauty, identity, and the domestic interior with particular electric lighting technologies and effects. Largely driven by the electrical industry’s marketing rhetoric, American women were encouraged to adopt electric lighting as a beauty aid and ally in a host of domestic tasks. Drawing evidence from a number of primary texts, including women’s magazines, lighting and electrical industry trade journals, manufacturer-generated marketing materials, and popular home decoration and beauty advice literature, this study shifts the focus away from lighting as a basic utility, demonstrating the ways in which modern electric illumination was culturally constructed as a desirable personal and environmental beautifier as well as a means of harmonizing the domestic interior.